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    Ks. Michał Marcin Mioduszewski (1787-1868) – prekursor naukowego gromadzenia pieśni religijnych
    Drewniak, Janusz (Wydział Teologiczny Uniwersytetu Opolskiego, 2008)
    Michał Marcin Mioduszewski was a priest of the Catholic Church. He was the first Polish collector of the religious folklore. Mioduszewski was also a precursor to collecting and publishing church songs in the XIXth century. He is the author of The Church Song-book (1838), one of the most popular song-books in Poland in the XIXth century. Mioduszewski also published the song-book titled Pastorals and Carols (1843). His activity has not only an utilitarian character but also a great historical value. Mioduszewski’s publications have revived the liturgical songs in Poland and have protected many old Polish religious songs from disappearance.
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    Mistycyzm chorału gregoriańskiego
    Drewniak, Janusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2010)
    Gregorian chant is accepted as the first and the most appropriate song of the Latin Church. The excellence of the form and the sacral elements give the primacy to Gregorian chant. The musical, literary and religious advantages of Gregorian chant allow to describe it as spiritual and aesthetic mysticism. The author at the beginning of this article presents the mathematical, symbolic, allegoric and ascetic standards of the musical aesthetics of the middle ages. Afterwards presents the variety of the sacral elements of Gregorian chant – its mystic, meditative, ascetic and consecration character. These attributes are clearly noticed in the melody and the literary text of Gregorian chant. Additionally the article presents the utilitarian character of Gregorian chant in the liturgy. In the final part of this article the author underlines the most important aspects of performing Gregorian chant.
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    Muzyczna forma dramatyzacji motywu cierpienia Chrystusa
    Drewniak, Janusz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2009)
    The Author analyses the problem of musical rhetoric presenting Christ suffer. In his dissertation he concentrates on the passion form. He classifies the form, presents history and evolution of passion, musical structure, libretto and function of passion in liturgy. In analytical part of this article the Author presents examples of musical rhetoric formulas based on the greatest passion compositions: Passion unseres Herrn Jesu Christi nach dem Evangelisten Matthäus composed by Johann Sebastian Bach and Passio et Mors Domini nostri Jesu Christi secundum Lucani composed by Krzysztof Penderecki. The article presents the most characteristic definitions and figures which help to understand musical interpretation of libretto and also other than musical elements. This dissertation also presents functionality of “sound language” in religious music.
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    Problem autorstwa polskiego „Te Deum” milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań
    Drewniak, Janusz (Wydział Teologiczny Uniwersytetu Opolskiego, 2008)
    The millennium hymn Te Deum is known and sung in Poland for over forty years. The author of this dissertation presents complicated circumstances related to the creation of this hymn. The inspiration were incorrect notes about the composer of this hymn, which were published in the song-books. In the past years it is used to think that Te Deum was composed by the priest Antoni Chlondowski. The author, basing on the research made by Maria Wacholc, negates that the priest Chlondowski composed this hymn. This article presents analysis of the composing style and the biography of the priest Chlondowski, which negate his authorship. Next in the following part of this article the author presents some facts which helped him to find the authentic composers. According to the author of this dissertation the authentic composers of Te Deum are Józef Furmanik and Franciszek Wesołowski. The aim of this article is to underline the necessity of the correction of the mistaken information about the composer in the song-books which will be published in the future. This article has the following structure: 1. Te Deum in the history of the Catholic Church; 2. Polish language version of Te Deum used in the liturgy in the XXth century; 3. Polish millennium Te Deum; 4. The controversy around the authorship of the priest Antoni Chlondowski; 5. The controversy around the authorship of Franciszek Wesołowski; 6. The authentic composers – Józef Furmanik and Franciszek Wesołowski.
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    Qui bene cantat bis orat (św. Augustyn). W trosce o odpowiedni kształt śpiewu w liturgii
    Drewniak, Janusz (Wydział Teologiczny Uniwersytetu Opolskiego, 2007)
    The liturgy and especially the Eucharist require awareness and full engagement during the prayer and singing. The article presents the role of music and singing in the liturgy and also underlines their aesthetic values. The liturgy singing is a natural manifestation of faith and religiousness. The significant issue is to define the sacred criterion of the church music. Thanks to sacredness the church music is distinguished by dignity and aesthetic beauty. The next formal criterion specifies music genres based on liturgical and biblical texts, which are closely related to the catholic liturgy. The utility criterion expresses the close relation between music and liturgical act. The last point of this article presents the right place for religious song in the Eucharist.
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    Ruch cecyliański – dzieło odnowy muzyki Kościoła katolickiego XIX wieku
    Drewniak, Janusz (Wydział Teologiczny Uniwersytetu Opolskiego, 2006)